OP1528. IL TROVATORE, Live Performance, 14 April (not March, as stated), 1956, w.Cleva Cond. Met Opera Ensemble; Zinka Milanov, Nell Rankin, Kurt Baum, Leonard Warren, Giorgio Tozzi, etc. (E.U.) 2-Walhall 0207. - 4035122652079
“I will say emphatically that Milanov's Leonora in TROVATORE, among other roles she sang splendidly, was the peer of any soprano's in my experience. (Yes, my own included.....Milanov's was an amazingly beautiful voice.…In the end, she earned a place in operatic history and it was an Olympian one.”
- Rosa Ponselle
“In the dramatic Italian roles, the greatest soprano I ever sang with was Zinka Milanov.…Milanov had one of the greatest voices of this century…she had such power, such dramatic drive in her voice — and she had such pure top tones, including a pianissimo even on the high C, if she wanted.”
- Alexander Kipnis
“Milanov came like a bolt out of heaven - the voice and the young woman, both so vibrant and exciting. We knew something great had come into [the Met’s] Italian wing. What was not obvious at the beginning was that she would have such a staying power, for she gave so much in her singing.…I was present years later on her great anniversaries and she sang at mine [the fiftieth anniversary of [my] Met début, 1963]. She was incomparable. She was like a vocal sorceress singing the OTELLO arias that night. Such a roar went up from the public, I can never forget it.”
- Giovanni Martinelli
“Zinka never paused to consider the effect her ‘Milanovisms’ might have on others. She once saw very religious Kurt Baum crossing himself before the third act of TROVATORE. Zinka just looked at him and said, ‘If you don’t know it Baum, Gott ain’t gonna help you.”
- Anna-Lisa Björling, JUSSI, p.261
“A dramatic tenor alternately gauche and exciting, Kurt Baum filled a crucial spot for the Metropolitan Opera and other houses without ever quite having attained star status. Long after his nominal retirement from the stage, he continued to make concert appearances. Noted throughout his career for stentorian top notes, he later wrote several treatises on preservation of the voice and singing well in old age. Whatever his deficiencies as an artist, he was an exemplar of longevity. Baum spent his high school and college years in Cologne, Germany, before entering medical school at Prague University in 1927. During this period, Baum engaged in a number of athletic activities, becoming the amateur boxing champion of Czechoslovakia. He also evinced a strong interest in music. Urged by friends to sing professionally, Baum left medical school and enrolled at Berlin's Music Academy in 1930. By 1933, Baum was sufficiently well prepared to win the Vienna International Singing Competition, taking first prize among 700 contestants. Heard by the Intendant of the Zurich Opera, Baum was engaged for that company and made his début there in 1933 singing in Alexander von Zemlinsky's DER KREIDEKREIS. After singing a variety of lyric rôles at Zurich, Baum was engaged the following year by the Deutsches Theater for a succession of more dramatic rôles. Feeling the need for further study, Baum traveled to Italy to work with Eduardo Garbin in Milan and with faculty at Rome's Accademia Santa Cecilia. Fortified with additional technical expertise, Baum sang in many of Europe's leading houses in Paris, Vienna, Budapest, Monte Carlo, and at Salzburg. Heard in Monte Carlo by the director of the Chicago Opera, Baum was engaged and made his American début in Chicago on 2 November, 1939, singing Radames to the Aïda of Rose Bampton. He was heard in subsequent seasons as Don José and Manrico. Meanwhile, Baum joined the Metropolitan Opera, making his début on 27 November, 1941, as the Italian Singer in DER ROSENKAVALIER. In this short but memorable part, his talents were well matched to the role's requirements. For the next quarter century, Baum sang the spinto repertory at the Metropolitan to reviews both complimentary and critical. When the company mounted WOZZECK for the first time in 1959, Baum found a highly congenial rôle in the preening Drum Major. After WWII, Baum returned to Europe and made his début at La Scala as Manrico and re-established relations with several other major companies.”
- Erik Eriksson, allmusic.com
"Leonard Warren emerged as the principal baritone of the Met’s Italian wing in the early 1940s and remained so until his untimely death on the Met’s stage, 4 March, 1960, at the peak of his career. His smooth, velvety, and beautiful voice was powerful and had an unusually large range in its high register. It was easily and evenly produced, whether he sang softly or roared like a lion….Warren acted his roles primarily by vocal coloring, expressivity, and his excellent diction….his singing was unusually consistent….Warren’s legacy should be of interest to all lovers of great singing."
- Kurt Moses, AMERICAN RECORD GUIDE, Nov./Dec., 2006
"[Warren's] remarkable voice had a dramatic intensity which did not come naturally to him. As with everything else in his life, he worked at that until he got it right. Fortunately, his incomparable voice and dramatic power are still available to us on recordings of some of his most famous roles....[He] became one of the most famous and beloved operatic baritones in the world....Warren's flawless technique, seamless flow of sound, and brilliant top voice were his vocal trademarks and these qualities became the standard by which others would be measured, including me."
- Sherrill Milnes, AMERICAN ARIA, pp.76-77